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Editing of short film. Few drafts sent out for feedback on wednesday

Thursday: Film and a questionnaire is then sent to friends and family to test whether or not their senses and emotions are triggered while watching it. Meeting with Patrick that has read the second draft, Paper will need some extra work.

Friday, Saturday: Preparation of final draft.

Sunday: Submission !

Overall feeling: Super stressful week, i've slept maybe 4 hours a night to get it all finished. Overall im super happy with the outcome and am thrilled to have finished this project.

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Shooting week:

Monday, Tuesday is very chaotic as we try to seal all the cracks in the wall as well as preparing to film. I shop for my props and my costume and get hold of a mixing console and a cabinet.

Wednesday (Day 1) turns from a shooting day to a preparation day as designing the final props and figuring out the lighting takes more time than expected. We decide to use the rest of the day to prepare fully for the next day.

Thursday (Day 2) is productive and most of the scenes are shot.

Friday and Saturday are used to start the edit and understand what broll and other angles could look nice in the film.

Sunday (Day 3) those scenes are shot.

Overall feeling of the week: No sleep but we’ve managed to get it all filmed!

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Tuesday: Helping milo finish the cyclorama wall. Panels are now all in place.

Friday: We fill all the holes on the wall. Next is painting

Saturday: The filling hasn't worked as well as we hoped so we've added another layer. The 1st coat of primer has been put.

Sunday: Painting of the wall

Overall feeling of the week: Stressed that the wall isn't entirely finished, but excited to film next week!

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Tuesday: Meeting with Patrick to discuss progress and ideas for the film.

Rest fo the week is focused on script writing. Set a visit on friday to check how the progress is.

Saturday: Final script is done. Now time to prep everything

Sunday: Restructure some of my paper and work on the methodology as recommended by Patrick.

Overall feeling of the week: Getting there…

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Paper research and two study group meetings. Again.

Tuesday: Start of concepting and writing of the story

Wednesday: Study group meeting to brainstorm and get feedback on our ideas.

Thursday: Set visit - the first part of the ‘sloop has been built. The first idea of how the infinite set might look starts to appear.

Weekend: More ideas for the film appear as the set takes shape. Meeting with Maja on sunday to talk about it.

Overall feeling of the week: Almost there with the paper, a first draft had been sent to Partick for feedback. Now it's time to focus on the film

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Paper research and two study group meetings.

Thursday: Set visit - the frame and floor of the set have been built. The project is starting to take place. I need to write the script now.

Overall feeling of the week: Another boring research week but I have passed the 5000 word goal for this week. I'm happy the set is taking shape.

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Paper research and writing is the main thing this week. I've restructured the paper so that it flows better. Almost at 3000 words.

Wednesday: First look at the space and conceptualisation of how the set can be built in the space.

Overall feeling of the week: Nice to see that warehouse and what we can do in it. The research is fairly boring but has to be done.

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Monday: Writing the introduction of the paper

Wednesday: Mechanics of smell and other senses

Thursday: Meeting with partick to discuss progress. Although I have worked on my paper, Patrick is right that it is time to also think about the shooting. I like his view that I should stop thinking like a producer but think like a director

Weekend: Following meeting I brainstorm different ideas and possibilities that can work with the current restrictions

Sunday: set pitch idea to milo - lets build a set in the warehouse, he agrees

Overall feeling of the week: Hopeful and happy to finally be moving on the film

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Tuesday: Start of Paper writing.

Research on the history of olfactory cinema and the relation between food and cinema. Research on how our senses work is completed.

I have about 1000 words worth of research.

Overall feeling of the week: Interesting week spent mostly in front of a computer. I still have many issues with an idea of a short film.

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Because of the new restrictions it makes it hard to imagine how one can do a short film. I have several theories that can work including going to italy to film something about truffles or the woods.

Saturday and sunday: Writing the ‘bishops and garlic’ story as a potential film to use in relation to our sense of smell.

Overall feeling of the week: Stressed and anxious. I've tried to understand what I can do to produce a film within the new restrictions

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Overall feeling of the week: Unproductive

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Jaws (1975), Steven Spielberg – Hearing

Behind the Great Wall (1959), Carlo Lizzani,-  Smell/AromaRama

Scent of Mystery (1960), Mike Todd Jr - Smell/Smell-O-Vision

Polyester (1982), by John Waters – Smell/Odorama

Chef” (2014), Jon Favreau – Taste

Jiro Dreams of Sushi (2011) - David Gelb

The Grand Budapest Hotel (2014) Wes Anderson – Enhancing image

Modern Times (1936) Charlie Chaplin – Hearing/foley

The Shining (1980) Stanley Kubrick – Enhancing sound

Goodfellas (1990) Scorsese - Enhancing sound

A Quiet Place (2018) John Krasinski – Using silence

Perfume: story of a murder (2006) Tom Tykwer – Using the narrative

The Five Senses (1999) Jeremy Podewsa – Smell/acting

Chocolat (2000)  David Brown – Taste/Acting

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Bartolini, E. (2011). Eliciting Emotion with Film: Development of a Stimulus Set.

Blumenrath, S. (2020). How Taste and Smell Work. [online] www.brainfacts.org. Available at: https://www.brainfacts.org/thinking-sensing-and-behaving/taste/2020/how-taste-and-smell-work-011720.

Botkin, I. (2015). Color Theory for Cinematographers. [online] IsaacBotkin.com. Available at: http://isaacbotkin.com/2009/03/color-theory-for-cinematographers/ [Accessed 24 Jun. 2019].

Braudy, L., Higgins, S., Groening, S. and Delapa, T. (2018). From Smell-O-Vision to Astrocolor, the film industry’s biggest innovation flops. [online] The Conversation. Available at: https://theconversation.com/from-smell-o-vision-to-astrocolor-the-film-industrys-biggest-innovation-flops-92496 [Accessed 23 Nov. 2020].

Chef. (2014). Open Road Films.

Comey, J. (2015). Art of film acting : a guide for actors and directors. Focal.

Cranny-Francis, A. (2009). Touching Film: The Embodied Practice and Politics of Film Viewing and Filmmaking. The Senses and Society, 4(2), pp.163–178.

digibroadcast.com. (2017). Create Mood Using Only Lighting Techniques | DigiBroadcast. [online] Available at: https://www.digibroadcast.com/blog/2017/03/create-mood-using-only-lighting-techniques/ [Accessed 23 Nov. 2020].

Gross, J. and Thompson, R. (2007). Emotion Regulation: Conceptual Foundations.

Hertweck, T. (2015). Food on film : bringing something new to the table. Lanham Maryland ; Boulder Colorado ; New York New York ; London England: Rowman & Littlefield.

Jiaying, S. (2015). An Olfactory Cinema: Smelling Perfume.

Jiro Dreams of Sushi. (2012). Magnolia Pictures.

Juslin, P.N. and Sloboda, J. (2012). Handbook of music and emotion : theory, research, applications. Oxford: Oxford University Press.

Kaya, N. (2006). Relationship between color and emotion: a study of college students. [online] Available at: http://irtel.uni-mannheim.de/lehre/expra/artikel/Kaya_Epps_2004b.pdf.

Laine, T. (2007). “It’s the sense of touch”: Skin in the making of cinematic consciousness. [online] Discourse. Available at: Retrieved from https://www-proquest-com.saeezproxy.idm.oclc.org/docview/212448083?accountid=145504.

Lindenfeld, L. and Fabio Parasecoli (2016). Feasting Our Eyes : Food Films and Cultural Identity in the United States. Columbia University Press -11-29.

Martinez, J. (2013). Lavanda: Connecting Film with the Five Senses.

MaterClass (2020). Film 101: Understanding the Dutch Angle. [online] MasterClass. Available at: https://www.masterclass.com/articles/film-101-understanding-the-dutch-angle#what-is-the-history-of-dutch-angles.

NewYorkFilmAcademy (2018). How to Use Sound to Heighten Emotions in a Film. [online] Student Resources. Available at: https://www.nyfa.edu/student-resources/use-sound-heighten-emotions-film/.

Ohikuare, J. (2014). How Actors Create Emotions: A Problematic Psychology. [online] The Atlantic. Available at: https://www.theatlantic.com/health/archive/2014/03/how-actors-create-emotions-a-problematic-psychology/284291/.

Petho, A. (2015). Cinema of sensations. Newcastle Upon Tyne: Cambridge Scholars Publishing.

Poland, J. (2015). EngagedScholarship@CSU Lights, Camera, Emotion!: an Examination on Film Lighting and Its Impact on Audiences’ Emotional Response. [online] Available at: https://engagedscholarship.csuohio.edu/cgi/viewcontent.cgi?article=1378&context=etdarchive.

Rago, R. (2014). Emotion and Our Senses | Emotion, Brain, & Behavior Laboratory. [online] Tufts.edu. Available at: https://sites.tufts.edu/emotiononthebrain/2014/10/09/emotion-and-our-senses/.

Renée, V. (2017). A Guide on How to Use Light to Communicate Emotion for Film. [online] No Film School. Available at: https://nofilmschool.com/2017/06/guide-how-use-light-communicate-emotion-film [Accessed 23 Nov. 2020].

Schroeder, J. (2016). Breaking the Fourth Wall: The effects of Metareference and Direct Address in Fictional  Narrative. Yale.

Scovell, A. (2013). The Shining – Legacy of Balance In Horror Film Scores. [online] Celluloid Wicker Man. Available at: https://celluloidwickerman.com/2013/05/02/the-shining-legacy-of-balance-in-horror-film-scores/ [Accessed 23 Nov. 2020].

Spence, C., Okajima, K., Cheok, A.D., Petit, O. and Michel, C. (2016). Eating with our eyes: From visual hunger to digital satiation. Brain and Cognition, [online] 110, pp.53–63. Available at: https://www.sciencedirect.com/science/article/pii/S0278262615300178#b0175.

Ton, W. (2020). The science behind essential oils | anatomē. [online] www.anatome.co. Available at: https://www.anatome.co/blogs/nutrition/how-essential-oils-work-the-science-behind-it#:~:text=The%20limbic%20system%20is%20a [Accessed 23 Nov. 2020].

Wiley, N. (2003). Emotion and Film Theory.

# data[].attributes.attachment_link.readable_text
Known by a variety of terms, practice-led research is a conceptual framework that allows a researcher to incorporate their creative practice, creative methods and creative output into the research design and as a part of the research output.

Smith and Dean note that practice-led research arises out of two related ideas. Firstly, "that creative work in itself is a form of research and generates detectable research outputs" ( 2009, p5). The product of creative work itself contributes to the outcomes of a research process and contributes to the answer of a research question. Secondly, "creative practice -- the training and specialised knowledge that creative practitioners have and the processes they engage in when they are making art -- can lead to specialised research insights which can then be generalised and written up as research" ( 2009, p5). Smith and Dean's point here is that the content and processes of a creative practice generate knowledge and innovations that are different to, but complementary with, other research styles and methods. Practice-led research projects are undertaken across all creative disciplines and, as a result, the approach is very flexible in its implementation able to incorporate a variety of methodologies and methods within its bounds.

Most commonly, a practice-led research project consists of two components: a creative output and a text component, commonly referred to as an . The two components are not independent, but interact and work together to address the research question. The ECU guidelines for examiners states that the practice-led approach to research is

... based upon the perspective that creative art practices are alternative forms of knowledge embedded in investigation processes and methodologies of the various disciplines of performance ... the visual and audio arts, design and creative writing ("Guidelines and Examination Report for Examination of Doctor of Philosophy theses in creative research disciplines," para. 1).

A helpful way to understand this is to think of practice-led research as an approach that allows you to incorporate your creative practices into the research, legitimises the knowledge they reveal and endorses the methodologies, methods and research tools that are characteristic of your discipline.

Additional advice and guidance on the nature and implementation of a practice-led research project may be sought from your supervisors and from the research consultants.

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LibGuides: Research Methodologies for the Creative Arts & Humanities: Practice-based & practice-led research

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LibGuides: Research Methodologies for the Creative Arts & Humanities: Practice-based & practice-led research

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https://ebookcentral.proquest.com/lib/saeuk/reader.action?docID=4723088

https://www.huffpost.com/entry/you-eat-with-your-eyes-fi_1_b_10571174?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAKGZO4_5_B9qRmWMJQRG03YjXuDTJ25qiRealOwtXOOl33CwAZOFyibp-SCWxFxb0VBpjmMu2M0E0PVEQRIbPi499j2vD-dPAvHhWm1HecKSZebyq63DM3ZKGvd_n8qEImUeoiS5WV4Dk6sCxChYU5qBV_MFNN_mKVi7h5N1RgK5

https://www.youtube.com/watch?v=B-1E33mIPiY&ab_channel=LeMondedesAvengers

https://content.sciendo.com/view/journals/ausfm/8/1/article-p113.xml?language=en

https://theconversation.com/from-smell-o-vision-to-astrocolor-the-film-industrys-biggest-innovation-flops-92496

https://ebookcentral.proquest.com/lib/saeuk/reader.action?docID=1832693

https://www.sciencedaily.com/releases/2020/06/200618150304.htm

https://en.wikipedia.org/wiki/Smell-O-Vision#cite_note-4

https://scholarworks.uno.edu/cgi/viewcontent.cgi?article=1040&context=honors_theses